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Review: RavenEye, Exchange
Tonight’s trio of trios kicks off with Bristol’s very own IDestroy, who do the snotty, punky, garagey thing with aplomb and, in another era, would probably have been described as ‘Riot Grrrl’.
They swiftly establish that this rock audience is mostly unfamiliar with their material, which gives them a chance to try out some new stuff.
is needed now More than ever
Journeywoman bassist Becky Baldwin is clearly the most technically accomplished member of the band, but wisely keeps it tight and simple here rather than going full prog-metal, locking in with drummer Jenn Haneef to form a strong rhythm section – which makes a pleasant change in a genre that is so often characterised by sloppiness.
Bec Jevons is an engaging singer/guitarist who perhaps needs to work a little on her stagecraft to fill those awkward silences between songs, but the RavenEye crowd is swiftly won over by IDestroy’s enthusiasm and energy. Their more sophisticated songs, like 98%, also boast genuine crossover appeal and deserve to get them noticed.
Leicester’s SKAM are one of an ever-growing number of hard-working, hard-rockin’ British bands who slog around the live circuit hoping for a much-needed break. Here in Bristol, they’ve built up a modestly proportioned if fiercely loyal audience who are out in force to cheer them on during their brief 30 minute support slot. They’ve also got an impressive USP with their ambitious third studio album, The Amazing Memoirs of Geoffrey Goddard – a concept piece about a time-travelling spitfire pilot. “No, really,” frontman Steve Hill assures us. “I’m not lying”.
Unlike most concept albums, this is no grand prog workout but a collection of thematically linked, punchy hard rock songs, so it doesn’t really matter if they’re played out of sequence. The likes of Fading Before the Sun lose none of their power when stripped of their context, and with all three members of the band frequently joining forces for vocals the sound is a lot bigger than we generally expect of a trio.
They finish with fan favourite Massacre – rather bizarrely incorporating the first verse of Sabbath’s War Pigs – which bounces along on a huge riff and sees bassist Matt Gilmore walk away with the Gurner of the Evening award.
Oli Brown’s blues work sure is mightily impressive, earning him critical plaudits, a cabinet full of trophies and an enviable collection of exceedingly nice guitars. But, boy, is it much more fun when he chooses to rock out with his RavenEye trio. Politely spoken Oli throws himself into this high-energy, fat-free set with a headbanging enthusiasm that suggests he’s been itching to be let off the leash. Given that at least a brace of his songs seem to be venting frustration at assholes, the whole thing is clearly a cathartic experience for him too.
Not to be outdone, bassist Aaron Spiers joins in with gusto, clambering all over the drum kit and bearing Oli aloft on his shoulders as they rampage through the crowd, as though possessed by the spirit of Airbourne. Rising to the challenge, drummer Adam Breeze takes every opportunity to emerge from behind his kit and bound around the stage in the restless, spotlight-hogging style of Halestorm’s Arjay Hale or Boris’s Atsuo. Impressively enough, all this tomfoolery is achieved without missing a note of their driving blues rock.
The expectation of such a set-up might be that it would serve simply as a vehicle for the illustrious frontman’s talents, but refreshingly this proves not to be the case. There’s no grandstanding or excessive soloing here; indeed, at one point Oli removes his guitar to perform a new song, accompanied only by drums and bass (but not, it should perhaps be noted, drum’n’bass), showcasing a strong voice that’s well suited to rock belting.
It’s not all full-tilt. Aaron and Adam don acoustic guitars to “do the full Crosby, Stills and Nash shit” as Oli puts it, for the delicate three-part harmony of Eternity, which is marred only by some persistent audience chatter.
Emboldened by our enthusiasm, Aaron elects to “lose his crowd-surfing virginity” at the close of the set. Fortunately, Bristol doesn’t let him down – or, indeed, drop him on the floor like a sack of potatoes – and he’s returned, beaming, to the stage. It’s a safe bet that RavenEye will be back, and at a bigger venue next time.
All photos by Shona Cutt
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